[15] Light from above is the same thing with reference to our present inquiry. [16] For which reason, I said in the Appendix to the third volume, that the expression "finite realization of infinity" was a considerably less rational one than "black realization of white." [17] The _color_, but not the form. I wanted the contour of the top of the Breven for reference in another place, and have therefore given it instead of that of the Bouchard, but in the proper depth of tint. [18] Even here we shall be defeated by Nature, her utmost darkness being deeper than ours. See Part II. Sec. II. Chap. I. Sec. 4-7. etc. [19] When the clouds are brilliantly lighted, it may rather be, as stated in Sec. 4. above, in the proportion of 160 to 40. I take the number 100 as more calculable. [20] It is often extremely difficult to distinguish properly between the Leonardesque manner, in which local color is denied altogether, and the Turneresque, in which local color at its highest point in the picture is merged in whiteness. Thus, Albert Durer's noble "Melancholia" is entirely Leonardesque; the leaves on her head, her flesh, her wings, her dress, the wolf, the wooden ball, and the rainbow, being all equally white on the high lights. But my drawing of leaves, facing page 120, Vol. III., is Turneresque; because, though I leave pure white to represent the pale green of leaves and grass in high light, I give definite increase of darkness to four of the bramble leaves, which, in reality, were purple, and leave a dark withered stalk nearly black, though it is in light, where it crosses the leaf in the centre. These distinctions could only be properly explained by a lengthy series of examples; which I hope to give some day or other, but have not space for here. [21] It is notable, however, that nearly all the poisonous agarics are scarlet or speckled, and wholesome ones brown or gray, as if to show us that things rising out of darkness and decay are always most deadly when they are well drest. [22] Hence the intense absurdity of endeavoring to "restore" the color of ancient buildings by the hands of ignorant colorists, as at the Crystal Palace. [23] The redeemed Rahab bound for a sign a _scarlet_ thread in the window. Compare Canticles iv. 3.